Piano Concerto No. 11 (Mozart)

The 11th Piano Concerto in F major, K. 413, is a piano concerto by Wolfgang Amadeus Mozart. According to another census, it is the 5th piano concerto by Mozart.

Formation

The piano concerto was written in the autumn of 1782. Arose chronologically seen after the 12th Piano Concerto, K. 414, but carries the lower number. These are the first Mozart's piano concertos, which were written in Vienna and is no longer in Salzburg. Mozart wrote it for his own concert performances, which he gave in Vienna. On December 28, 1782, he wrote to his father about the concerts newly formed "The concertos are just happy medium between too heavy and too easy, you are brilliant - pleasant to the ears - of course without falling into the emptiness here and there. . can also connoisseurs alone get Satisfaction - yet so - that non-experts have to say satisfied, without knowing why. " From these lines it is clear that the concerts KV were written 413-415 for the direct performance in Vienna and thus followed a commercial objective. The proviso was apparently to provide both expert and non-expert satisfied by beauty of sound. However, the last sentence ends pianissimo, which may speak for a planned performance in smaller circles.

About the Music

1st movement: Allegro

The main theorem is in triple meter, which is highly unusual for Mozart's concerto movements and otherwise only in the Piano Concerto K. 449 and K. 491 occurs. The main theme begins with a Orchesterunisono. The second theme is tonal strangely indecisive and turns to the seven bars pronounced modulating from the dominant back to the tonic. The entry of the solo piano comes after nearly equal to its own first subject before the main theme, divided into orchestra and soloists, together sounds. The short implementation is in minor and barely processed the given thematic material, so come konzeptional a fancy implementation, as in the earlier concerts usual, closer. The solo cadenza falls here, a lot of virtuosic than in the previous 12 Piano Concerto. The last chords of the orchestra to finish the sentence with a questioning gesture, as they ascend from f to a and thus end with the third to F major.

2nd movement: Larghetto

The song-like theme proceeds raised above the violins. The bassoon in this set are quite an obligate, as will be the rule for all woodwinds at the coming of Mozart's works. The solo piano increases with the varied together with the orchestra repetition of the theme song in the set. The structure of the Larghettos is quite simple in design and looks on a formulated the second theme. After a prolonged transition Instead, followed by the repetition of the main theme, sometimes even in F minor, and a long solo cadenza. With the final presentation of the main ideas of the simple but moving sentence ends.

3rd set: Tempo di Menuetto

The final Rondo is composed in fashion of a minuet. The short sentence is marked by some compositional subtleties. Already the main theme is the whole of a chorus and two variations. Some motifs from the reconciliation between these two variations appear in the whole sentence again. The elegant main theme is varied in two couplets and a few choruses witty orchestral and solo piano. The result is, for example, in the last repetition of the main theme, a double counterpoint. An internalized coda ends the movement piano, which only happens rarely in Mozart's final movements.

Status

The 11th piano concerto belongs to the group of early Viennese concerts. In them is undergoing a major change in the formal structure of the concerts. Thus, the importance and extent of Eingangsritornelle the main theorems keeps growing, and it turns out that Mozart has here a new concept in mind. The name of the orchestral exposition can now be applied to the concerts of Mozart, which thus increasingly becoming the classic basic form of the piano concerto. Even in the development of obligate accompaniment, ie from libre accompagnement for the obligatory accompaniment, these first Viennese concerts are an important component. They are the last, which formally still allow the free use of the woodwinds. However, they are already woven in some places inseparable in the musical events. So come in the second sentence of this 11th piano concerto added two bassoons, which can not be solved from the design out. Another important element of the early Viennese concerts are the numerous solo cadenzas and inputs of the pianist, which cause some increased virtuosity of the concerts.